Emily Lazar of The Lodge in New York City (http://www.thelodge.com) has had albums from Morrissey, Depeche Mode, BT, Garbage and David Bowie, among many others, pass through her mastering suite. As the final stop in the processing chain, Lazar emphasizes that mastering is a crucial stage for the vocals.

“I believe that mastering can really do quite a lot to enhance the vocal portion of a mix,” she says. “Of course, the client must keep in mind that manipulating the frequencies that directly affect the vocal will also affect any other instrument in that frequency range.

“For example, a difficult problem to fix would be that of isolating a sharply sibilant vocal while enhancing the snap of a snare drum. This could be construed as an unreasonable expectation, but where there is a will, there is a way. Some mastering engineers may choose to de-ess an entire stereo mix in an effort to de-ess a vocal. Although it might produce a more palatable vocal, this technique can instantly destroy the snap and sizzle of the drum kit, as well as the track’s ability to breathe as a whole. It may take hours longer, but I prefer to do two passes on the material: one mastered with a de-esser in line and another pass without the de-esser. Then I edit back in only the de-essed sections that are most necessary to preserve the rest of the track.

“To handle a muddy or buried vocal, I have found that the best tools for digging out a vocal are subtractive EQ and multiband compressors. They give you the most control when you are trying to tighten something. When things start sounding muddy in the low mids, it is all about creating space. Once you have some space [in which] to work, then go to your additive EQ.”

According to Lazar, mastering engineers are more than happy to help take the guesswork out of what kind of 2-track (or surround) mix artists or producers should deliver. “Do multiple versions of your mix!” exclaims Lazar. “Giving the mastering engineer more options to work with can ease your session tremendously. For example, a common client complaint is, ‘I love where the main mix’s vocal track is for the verses, but in the chorus, it is too quiet.’ If you have a vocal-up version of your mix, the mastering engineer can master both mixes and edit them together in the appropriate places without making any changes to his or her EQ or compressor settings.

“Start a relationship with a mastering engineer that you trust. Many of my clients send me their roughs, as well as their final mixes while they are working, just to ensure that they are achieving their goal. Running your mix past a mastering engineer’s ears before the scheduled session gives you an opportunity to get a fresh perspective and — if necessary — go back and fix some things.”

From mic selection through to the final master, capturing and reproducing vocals may be the most complex of any exercise in recording. But with obsessive attention to detail, sharp organization and an innovative spirit, your next vocal track could very well be your best yet.